Supercat

Photo: Beth Kingston

Supercat – Si Boops Deh – Jammys – 1986

The emergence of Stur Mars sound system in the mid-eighties was also the first time a lot of people got to hear Supercat at work. Yet it was Jammys who came up with the ‘Cat’s’ first big hit ‘Boops’ and followed it with this excellent album of the same name (more or less). Stylistically Supercat fits into the style that Lone Ranger made so popular. Lyrically it’s just the same. Supercat is another storyteller. ‘Boops’ being a perfect example of this. The word ‘Boops’ was everywhere in reggae at that time, with enough singers and deejays making the most of it, but the ‘Cat’ made the very most of it.

Supercat –Boops – Skengdon – 1986

The Miami based Skengdon label was at one time threatening to take over the reggae business. It apparently had recorded virtually every artist in Jamaica. Even if it had recorded 10% the amounts would be in triple figures. The actual album releases on the label amounted to a lot less than that, but if the rest of them are good as this, someone as a lot of great music to release. For this is another superb set from Supercat. Even though it was cut at the start of the digital era, the sound is pure dancehall. With rhythms built by a band of musicians that includes the Fatman Ridim Section plus Dwight Pinkney, Robbie Lyn and Mikey Boo. With recording and mixing taking place at Music Mountain in Jamaica.

Supercat – Sweets For My Sweet – Wild Apache – 1988

Two years later and Supercat was to be found in New York working with Robert Livingstone at H.C.F. which had very quickly become one of the best studios for reggae music outside of Jamaica. The big hit on this set and the title track was however recorded at SKD with Steelie & Clevie. And what a hit it was. Although very much a celebration of the ragga sound with lots of samples it’s main musical feature was a bubbling lead guitar which Hux Brown would have been proud of in 1969. This tune and album took the Cat into the big league. His lyrics are always interesting, and his timing could not be bettered.

Supercat – Don Dadda – Columbia – 1991

With Shabba also on the label, Columbia/Sony had two of reggae top DJ’s. Supercat’s debut album for the label though is a lot more traditional than Shabba’s. Although it’s got a guest appearance from Heavy D (and Frankie Paul). Robert Livingstone keeps the set very much in the ragga style. Only one track ‘Must Be Bright’ does the rhythm go into something else, and even on that it cuts back into ragga. As with all the previous albums Supercat takes control lyrically and does not let go. Of course the rhythms are strong, but it’s that wonderful timing that makes this set like the others truly essential.

Supercat – The Struggle Continues – Columbia – 1995

Despite some great ragga tracks the balance of this set is not right. Ever since the Rap and Hip Hop styles emerged reggae as taken on some of the ideas, present in those musics. Just in the same way, Rap and Hip Hop as borrowed from Reggae. Although I do not know one single artist who can cross from one style of music to another. Of course from time to time it will happen, but if you try and force it, you end up with something like this. The very obvious direction for the Cat to go is with a tune like ‘My Girl Josephine’ that explores reggae’s pre ska roots via New Orleans. Now if the man could come up with an album of that style!